The Conrad Boys (2006) is an indie drama that tells the story of Charlie Conrad, a teenager who must take care of his younger brother, Ben, after their mother passes away. With his father out of the picture, Charlie takes on the responsibility of raising Ben, postponing his dreams of attending college. As he copes with this new life, Charlie meets Jordan Rivers, a charming drifter who introduces him to the possibilities of love and freedom. However, when Charlie's estranged father returns, sober and wanting to make amends, Charlie is forced to make difficult decisions about his future, his brother, and his romantic relationship.
The Conrad Boys (2006), Justin Lo’s debut feature, is a modest and sincere film that explores themes of family, responsibility, and coming of age. Lo serves as producer, director, writer, editor, and lead actor—a remarkable achievement for a first-time filmmaker, though his multi-hyphenate role comes with mixed results.
The story centers on Charlie Conrad (played by Lo), a 19-year-old who puts his dreams of attending Columbia University on hold after the sudden death of his mother. Charlie is left to care for his younger brother, Ben (Booboo Stewart), while trying to navigate his own personal struggles. Their father, Doug (Barry Shay), an alcoholic who abandoned the family, reappears two years sober, hoping to reconnect and help raise Ben. Meanwhile, Charlie’s life is further complicated when he meets Jordan Rivers (Nick Bartzen), a drifter with a troubled past who introduces him to new emotional and romantic possibilities.
The film is not overtly focused on Charlie’s sexuality; rather, it’s treated as a given and not the central conflict. This is refreshing for an indie film about a young gay protagonist, as the narrative instead highlights deeper struggles like grief, family obligations, and first love. The romance between Charlie and Jordan serves as a secondary plotline, but it’s one that brings complexity to Charlie’s world, helping him discover more about himself in the process.
While Lo’s screenplay touches on significant issues such as parental loss, alcoholism, and a diminishing future, the writing is often restrained and lacks the emotional intensity required to fully captivate the viewer. The movie doesn’t aim for the dramatic highs of similar coming-of-age stories, but this could have been an opportunity to elevate the narrative.
Lo’s direction is solid, with the pacing consistent throughout the 94-minute runtime. His use of limited resources is impressive, as he transforms simple locations into believable backdrops for key scenes. Lo’s commentary on the DVD provides insight into how he maximized a no-budget production with help from family and friends. He acknowledges how he filmed multiple scenes in the same park, repurposed locations (such as his sister’s childhood bedroom turned into a vice principal’s office), and collaborated with his actual best friend, Nancy Hancock, who plays Tori, Charlie’s confidante.
Where The Conrad Boys falters, however, is in Lo’s portrayal of Charlie. While he brings an earnestness to the role, his performance lacks the emotional depth and screen presence needed to fully anchor the film. Some critics have argued that Lo should have cast a stronger actor in the lead role, as his reserved and often stiff portrayal of Charlie makes it hard to connect with the character. Lo isn’t without his charm, but he doesn’t deliver the kind of nuanced performance that a more experienced actor might have brought to the role. Comparisons to Joseph Gordon-Levitt or even River Phoenix highlight the potential the character had in better hands.
Despite Lo’s struggles in front of the camera, the supporting cast shines. Booboo Stewart as Ben brings a vulnerability to the film, playing the younger brother who is haunted by nightmares and acting out at school in the wake of his mother’s death. Nick Bartzen is particularly strong as Jordan, the charismatic drifter who enters Charlie’s life. Bartzen’s portrayal adds layers to his character, providing a contrast to Charlie’s innocence and naivety. Barry Shay as Doug, the father trying to make amends, also delivers a solid performance.
The romance between Charlie and Jordan is an interesting dynamic in the film. Some viewers may question why Jordan would be drawn to Charlie, but the contrast between the two characters—Jordan’s world-weariness and Charlie’s innocence—creates a compelling, if understated, bond. Jordan sees in Charlie a sense of purity and stability that he himself lacks, making their connection feel believable despite the differences in their backgrounds.
Visually, The Conrad Boys is polished for a low-budget indie, thanks to the skilled work of cinematographer Oktay Ortabasi. Lo’s use of lighting and locations helps elevate the production value, making it look more professional than its budget might suggest. The music, composed by Chelsea A. Lo, is appropriately understated, complementing the film’s quiet tone without overshadowing the narrative.
Ultimately, The Conrad Boys succeeds in telling a heartfelt story, even if it lacks the dramatic punch or charisma of more ambitious films in the genre. The movie deals with some heavy subject matter, but its execution is sincere rather than sensational, focusing on the emotional truths of its characters rather than exaggerated plot twists. While it may qualify as a “Movie of the Week,” as some critics have noted, it’s a strong first step for Justin Lo as a filmmaker.
The Conrad Boys is a simple, endearing film that shows promise for Justin Lo’s future in independent cinema. With more collaboration and stronger performances, Lo could continue to develop his voice as a director and storyteller. For those interested in personal, introspective films about family and personal growth, The Conrad Boys is worth watching, especially for its honest depiction of gay identity and its themes of responsibility and self-discovery.
